Lyla Dejesus
Wedding photography is a challenging task that requires a variety of skills, including lighting and problem-solving. To capture the best wedding group portraits, it is essential to plan and consider the lighting and timing. Scouting the venue beforehand can help identify suitable locations for group portraits, keeping in mind cultural preferences and the couple's wishes. Photographers should also be prepared to adapt to different lighting conditions and equipment, such as natural light, reflectors, flashes, and softboxes, to create natural-looking portraits. The key to successful lighting is controlling the light direction and spill, while elevating the light source can minimise shadows.
| Characteristics | Values |
|---|---|
| Lighting equipment | Off-camera flashes, modified with the Wescott shoot-through umbrella, light stands, softboxes, speedlights, radio transceivers, Manfrotto Nano Stands, Westcott RapidBox, Pocket Wizards, full-feature flashes, bounce flash |
| Lighting technique | Match ambient light with appropriate modifiers, control spill, amplify flash power, use natural reflectors, use high-quality modified light as the key light source, use CTO Gels and modify white balance, raise lights to minimise shadows, shoot with the sun behind the subjects |
| Planning | Scout the venue in advance, plan the timeline around sunset time, take photos before the ceremony, take sunset portraits, communicate with the couple about their preferences |
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What You'll Learn
Use natural reflectors to push light back onto subjects
When it comes to wedding photography, lighting is a key variable that can complicate your shoot. To capture beautifully lit wedding group portraits, you can use natural reflectors to push light back onto the subjects. Natural reflectors are found naturally occurring on location and bounce light back onto your subjects. They can be used in both brightly lit backgrounds and shaded areas.
The most useful natural reflectors are large, light-coloured surfaces, such as walls, pavements, buildings with silver or light-coloured walls, white/silver cars in parking lots, mirrors, windows, and even a white t-shirt. These reflectors are similar to real man-made or handheld reflectors, which can also be used to reflect light back onto your subjects. The bigger the reflector, the more dispersed and diffused (soft) the light will be. This is ideal for wedding group portraits as you want the light to be evenly spread over all of the subjects' faces.
To get the most out of a natural reflector, it is best to photograph your subjects between 11 am and 2 pm so that the sun hits these reflectors evenly. You can then move your subjects around to get the best background, angle, and lighting. If you are in a cityscape or urban area with a lot of buildings, the best time is a couple of hours before sunset as the sun will reflect against the windows of the buildings and offer the best strength.
When using reflectors, it is important to learn to see the light falling on your subject and then control the strength and quality of the reflected light. You can train your eye to see the light bouncing off a nearby wall or pavement and onto your subject. You can also use reflectors to stop a stray beam of sunlight from casting a distracting "hot spot" on your subject, by having someone hold the reflector between the sun and your subject.
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Plan the wedding timeline around sunset for the best light
Planning a wedding timeline around sunset is crucial for achieving the best lighting for wedding group portraits. The time of sunset varies throughout the year and across different locations, so it's essential to check the sunset time for your specific wedding date and location. Here are some tips to plan your wedding timeline accordingly:
Firstly, it is recommended to start your wedding ceremony one and a half to two hours before sunset. This timing ensures that most of your outdoor wedding group portraits will benefit from the ideal lighting conditions of the day. It is crucial for outdoor ceremonies, as it guarantees that the ceremony, bride and groom, wedding party, and family photos are captured in the best light.
Secondly, consider the lighting conditions throughout the day and communicate with your photographer. They should be prepared to capture photos in various lighting scenarios, but their input on timing is valuable. They can guide you in structuring your timeline to capture the most important moments in the desired lighting.
Additionally, if you opt for a "first look" before the ceremony, you can take couple portraits, wedding party photos, and family formals earlier. This approach can make the photo-taking process less stressful and provide more time for candid shots during the golden hour, just before sunset.
Furthermore, be mindful of the lighting conditions created by the weather. Cloudy skies can make the lighting softer and more even, but it may also start to feel dark earlier than the actual sunset time. Therefore, it is advisable to stop taking photos about 20 minutes before sunset when there is full cloud coverage.
Finally, when planning your wedding timeline, consider the setup time required for lighting equipment, especially if you plan to use multiple light stands and modifiers. This preparation will ensure you can efficiently utilise the available natural light and create the desired ambiance for your wedding group portraits.
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Use flash to match ambient light
Wedding photographer Jared Platt recommends matching the ambient light with the appropriate modifier to make the subjects look like they belong in the scene. This can be achieved by positioning the models in the shade with a nice backdrop, exposing for the background of the image, and then adding a flash to match the soft ambient light.
To amplify the ambient light and create a beautiful glow around your subjects, use a flash. This will also help to avoid a "black hole" behind your subjects and ensure clean, even skin tones. When using a flash, it is important to consider the height and direction of the light to minimize shadows and create favorable angles. You can also use tools like CTO Gels to modify your white balance and compensate for changes in color.
For indoor wedding photography, a single flash on the camera can be pointed towards the sky to reduce harsh lighting on the subjects while still illuminating the background. Alternatively, a flash can be modified with tools like Gary Fong or MagMod to bounce light off walls or ceilings, creating a more natural look.
When shooting in dark spaces, a higher ISO, medium flash power, and an f-stop of around 4 can help ensure everyone in the group portrait is in focus. Using a flash at a 45-degree angle to the group can also create a beautiful light source in spaces with limited natural light.
By combining ambient light with flash photography techniques, you can create natural-looking wedding group portraits that seamlessly blend the subjects into the scene.
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Raise lights to minimise shadows
Wedding photography requires a variety of skill sets, from communication and posing to lighting and problem-solving. One of the challenges is managing the lighting for group portraits.
To minimise shadows in wedding group portraits, it is recommended to raise the lights so that they hit the group from a higher angle. This will reduce the shadows cast on the subjects' faces and bodies. It is generally easier to reposition the lights than to move a large group of people. Use a ladder or chair to elevate yourself above the crowd to achieve this higher angle. Getting higher up will also allow you to create more favourable angles and ensure that people in the back rows are not blocked.
When dealing with lighting for group portraits, it is important to scout the wedding venue beforehand to familiarise yourself with the lighting conditions and choose suitable locations for the portraits. This will help you manage potential challenges and save time on the day of the wedding.
Additionally, consider using tools like light stands and umbrellas to control the direction and spread of light. You can also modify your flash power and white balance to achieve the desired lighting effect.
By raising the lights and employing these techniques, you can minimise shadows and create well-lit and flattering wedding group portraits.
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Scout the venue beforehand to find the best lighting
Wedding photography requires a variety of skill sets, from communication and posing to lighting and problem-solving. To capture the best wedding group portraits, it is essential to scout the venue beforehand to find the best lighting. Here are some tips to help you prepare:
Firstly, understand the lighting situation at the venue. If it is an outdoor location, recognise that the lighting changes throughout the day. Observe where you have the best lighting and for how long. Pay attention to the direction and nature (hard or soft) of the light. For example, if you want to illuminate a large group, consider using a Wescott 43" Optical White Satin Collapsible Umbrella. Its convex shape pushes light forward while also filtering small amounts of light towards the edges, filling a large portion of the area.
When working with an indoor venue, scout the location to identify spots where you can work with natural light. Think about lighting to save time on the final day, and take note of the logistics of the venue. For instance, figure out the rules and regulations, timings, and photography permits to avoid any unexpected issues on the wedding day.
While scouting for locations, keep group portraits in mind and find a space close to the ceremony site that can accommodate a large group. Communicate with the couple to understand their preferences and ask them to prepare a list of guests they want included in the group portraits. Once you have arrived at your location, work with a family member or friend to help organise and guide the groups into position.
By scouting the venue in advance, you can better frame your scene, act quickly, and elevate your photography experience for both yourself and your clients.
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Frequently asked questions
The key to creating even lighting across a large group is to focus the light direction to control the spill as much as possible. Use two off-camera flashes, modified with the Wescott shoot-through umbrellas, on light stands raised to about 5-6 feet to avoid 'campfire lighting' and to get the best light spread.
It is important to be aware of the sunset time and work backward from there. For example, if the sunset time is 7:15 pm, you can set the ceremony for 6 pm. That way, the light will be pretty, whether it is an outdoor wedding or a room with window light.
It is recommended to scout the wedding venue before the day begins to limit potential variables that might complicate your shoot. While scouting, keep group portraits in mind and find a space close to the ceremony site that can accommodate a large group of people.
Getting higher up will allow you to create favorable angles and limit how much the bodies of the subjects in the back rows will be blocked.
Keep the sun behind the subjects. If the sun is shining on their faces, it will make them squint and likely blow out details. When the sun is behind the subject, meter for the skin to ensure the photo is exposed the way you prefer.
